Download
Share
Print this page
  1. Manuals
  2. Brands
  3. Red One Manuals
  4. Digital Camera
  5. Digital Cinema Camera
  6. Operation manual

Red One Digital Cinema Camera Operation Manual

Hide thumbs

Advertisement

Quick Links

Download this manual
Sections:
1. Before You Start
2. Camera Assembly
3. Physical Controls
4. Theory of Operation
5. Basic Operation
6. Sensor Menu Controls
7. Audio Video Menu Controls
8. System Menu Controls
Appendix A. Upgrading camera firmware
Appendix B. Digital Media Management
Appendix C: Input and Output Connectors
Appendix D: Post Production Overview
Jul 29 2008
RE D- ON E Di git al Ci ne ma Ca mera
Oper atio ns G ui de - Bui ld 16 V3.2.5
Copyright RED Digital Cinema
Page
2
3
5
9
17
24
33
41
59
61
65
72
1

Advertisement

loading
Need help?

Need help?

Do you have a question about the Digital Cinema Camera and is the answer not in the manual?

Questions and answers

Subscribe to Our Youtube Channel

Related Manuals for Red One Digital Cinema Camera

Summary of Contents for Red One Digital Cinema Camera

  • Page 1 RE D- ON E Di git al Ci ne ma Ca mera Oper atio ns G ui de - Bui ld 16 V3.2.5 Sections: Page 1. Before You Start 2. Camera Assembly 3. Physical Controls 4. Theory of Operation 5. Basic Operation 6.
  • Page 2 (still), timed interval (animation) and continuous image (video) modes. Irrespective of capture mode, the visual quality of each still frame in a RED-ONE digital image sequence is comparable to an image captured by a 12 mega-pixel RAW digital stills camera.
  • Page 3 2. Ca mera Ass e mbl y Connect the power cable from the RED-BRICK v-mount battery plate, RED-CHARGER or RED AC adaptor to the DC input on the rear of the camera body. The RED-LCD and RED--EVF viewfinder are mounted to the camera body using a RED ARM. At- tach the RED ARM to the camera body using the shorter threaded screw.
  • Page 4 Attach matte box and motors, and any auxiliary power cables required to power these items. Insert the digital media, such as RED-FLASH 8GB compact flash (CF) card, or connect a RED- DRIVE via the supplied custom e-SATA cable. Inserting a Compact Flash card Attach a RED-BRICK 140 battery using the v-mount battery plate, or connect a RED-CHARGER using its supplied cable.
  • Page 5 3. P hy si cal Co ntrol s a nd Co nnec tors This section describes the physical controls and connectors on the RED-ONE camera body. A. PL Lens Mount B. Record C. User Keys 1 and 2 A PL mount is provided as standard with the RED ONE camera. The mount is compatible with the majority of S35mm, 35mm and S16mm cinematography lenses;...
  • Page 6 XLR adaptor cable are provided with the camera. Due to the specific re- quirements of the RED-ONE camera, use of non-RED adaptor cables is not recommended. Additional video and audio adaptor cables may be ordered online at www.red.com/store...
  • Page 7 A User Menus select B Status Display C Record & Ready tallies D Sensor menu E EXIT menu F UNDO / alternate action G Record Start / Stop H Joystick I Audio / Video menu J System menu On the rear of the camera, several buttons surround a daylight readable LCD status display. To the left of the status display are three User Menu buttons, which normally provide direct ac- cess Sensitivity, Shutter and Color Temperature menus.
  • Page 8 A Power On/Off switch B Aux Power / GPIO A C Aux Power / GPIO B D Camera 11.5 - 17V D.C Input E e-SATA Interface (to RED-DRIVE or RED-RAM digital magazine) Underneath the status display key group are the Power On/Off switch (top left) two 4 pin Aux- iliary Power / GPIO outputs, 6 pin camera system POWER input and a 16 pin DRIVE interface.
  • Page 9 4. Theory of Operation The RED ONE Digital Cinema camera provides high performance digital imaging over a wide range of frame rates and optical formats including Super 35mm, 35mm and Super16mm. The camera is supplied as standard with a PL mount, and may be configured with 19 mm rods to accommodate most cinematography lenses, matte boxes and follow focus systems.
  • Page 10 A udio Re cord i ng The RED ONE includes four channels of analog audio input as well as a headphone monitor and balanced analog audio output. The camera is supplied with one full size XLR to mini-XLR adapter cable. The adaptor cable includes components to extended input level compliance. Note: Due to t he spe ci fi c req uire me nts of the R E D-O N E ca mera, use of no n- RE D adap tor cabl es i s not re co mme nded, a nd is ma nd ator y f or p ha nto m p ower use.
  • Page 11 RED-EVF: 1280 x 848 resolution RGB 4:4:4 progressive video display with Surround View, frame guides and safe action / title overlays, zebra and false color exposure overlays, wave- forms, camera status and operation menus. RED-LCD: 1024 x 600 resolution RGB 4:4:4 progressive video display with Surround View, frame guides and safe action / title overlays, zebra and false color exposure overlays, wave- forms, camera status and operation menus.
  • Page 12 Press the EXIT key to return to the main camera menu. The Preview Output setting will be held in camera memory. Once it is set it will not need to be re-set when power cycling the camera. *Note: RED has successfully tested the LG L206W (1680 x 1050) PC monitor with an HDMI to DVI adaptor cable.
  • Page 13 System information including instantaneous frame rate, exposure index, shutter speed, color temperature, recording format, clip name, timecode, battery and media remaining is pro- vided in the LCD/EVF monitor outputs, and the rear status display on the camera back. For applications when a RED-LCD or RED-EVF are not desired – for example when working on a crane –...
  • Page 14 RED-DRIVE is attached to the e-SATA port using the supplied 16 pin LEMO cable. Met ada ta RED-ONE cameras record Metadata, which is data that describes the precise characteristics of the picture and sound data, in each frame of footage. This may include camera specific setup information, project and clip management information, Edge code, Time code, date and GMT, lens parameters, audio settings and any video image processing information.
  • Page 15 Cli p N a mi ng Co nve ntio ns When you push record, the camera names the clip being recorded on the digital media. The format of the clip name is Camera Letter + Reel Number + Month + Day + ** where ** is a two digit alphanumeric random number generated by the camera for each file E.g.
  • Page 16 Charge times may be significantly longer if using another V lock compatible battery charger. Note: V lock batteries from other manufacturers may be used with the RED-ONE camera pro- vided that they meet minimum current and voltage draw requirements. In general, batteries rated at less than 7Ah and 90Wh should be avoided.

  • Page 17: Basic Operation

    5. Basic Operation This section describes the basic controls of the RED-ONE camera and how to initiate a project. Co ntrol Sy ste m a nd Sta tus Dis pla y Command inputs to the camera are made from the rear status display and associated buttons.
  • Page 18 Sta tus Di spla y The status display mounted at the rear of the RED ONE camera provides a snapshot of the camera setup. The elements include – Timecode / Status reports current timecode value, clip name or system messages* ASA Value reports current exposure index Project Frame Rate...
  • Page 19 Sett i ng up a proje ct. Before recording, the camera must be instructed to follow a Record Quality, Frame Rate and Resolution. These values are set in the PROJECT sub menu located in the SYSTEM menu. 1. Press the SYSTEM menu key, then the PROJECT key. This highlights the PROJECT sub-menu 2.
  • Page 20 Rec ordi ng Check that you have a RED-DRIVE attached, or Compact Flash card inserted in the camera. To initiate a recording, press either RECORD button. Press once to begin recording and again to stop recording. The camera will automatically create a file name for every clip recorded on the digital magazine or media.
  • Page 21 Playback Playback of recorded clips is available on-camera using the Transport Control Keys. The I> key is used to enter PLAYBACK mode, and to initiate playback of the last recorded Clip. Press it once to enter Playback mode, and a second time to start playback. Once in clip play- back, this key acts as a Play/Pause toggle.
  • Page 22 Monitoring. RED-LCD and RED-EVF monitors are factory preset digital displays. There are no saturation, peaking or contrast adjustments as found on analog monitors to correct color reproduction. Monitor outputs on the RED ONE camera are set up for REC 709 gamma and color space. Image intensity can be adjusted to compensate for ambient lighting conditions.
  • Page 23 USER KEY preferences menu. Using external HD-SDI or HDMI monitors. To aid external monitor alignment, the RED-ONE camera provides a range of test signals in- cluding SMPTE BARS, Luminance and Chrominance Ramps, and a Chip Chart. Note that the test signal cannot be recorded;...
  • Page 24 6. SENSOR MENU Controls This section describes how to set sensor specific menu parameters including Sensitivity, Shutter Speed, Color Temperature, Varispeed and Timelapse. To access these functions, press the SENSOR menu key or one of the direct access keys to the left of the status display. Note: When recording RAW, Sensitivity and Color Temperature values are stored as meta- data for use in REDCODE RAW compatible NLE and image processing applications.
  • Page 25 select the Auto WB parameter and then press the Joystick once. If AWB has been assigned, via USER KEY menu selection, you may also press User B key on the camera side panel. Ti nt Color Temperature calculations assume a pure light source that may not be true in the specific scene the camera is imaging.
  • Page 26 Syncro: Shutter Speed is defined by Shutter Speed, but modified by Syncro setting. Relative: Shutter Speed is defined by Shutter Speed, but modified by the capture fps. Note: If operating in Relative or Syncro modes, the shutter speed is reported in yellow text. Note: If the operator requests a shutter speed (angle) that is outside the capability of the camera in that mode, the actual shutter speed (angle) used will be reported in red text.
  • Page 27 Relat i ve: When operating in this mode, the Shutter Speed values are proportionately re- duced or extended to correspond to changes in the instantaneous capture frame rate. This mode is analogous to use of a fixed shutter angle on a film camera. E.g.
  • Page 28 Note: To Co nvert an A ng le t o a n E q ui val ent S hutt er Sp eed Equivalent Shutter = 1 / ( Frame Rate x 360 / Angle ) E.g. = 1/ (24 x 360 / 180) = 1/ (8640 / 180) = 1 / 48 Degrees Shutter Degrees...
  • Page 29 Vari spee d: Before recording, enable this function by checking the V aris peed checkbox. Ra mp: enables a speed ramp; a transition over Ti me from the Fra me R ate to an E nd Ra te O n-Re cord: On recording start, the capture frame rate will immediately start transitioning from the Frame Rate to the End Rate.
  • Page 30 REDCODE 36 RED 8GB CF RED-DRIVE & RED 16GB CF 2K 2:1 89 fps 120 fps 2K 16:9 79 fps 100 fps 3K 2:1 36 fps 50 fps 3K 16:9 30 fps 36 fps 4K 2:1 25 fps 25 fps 4K 16:9 n /a 25 fps...
  • Page 31 E nab le: After making any adjustments in the timelase menu, check the Enable box to enter these values and enable the Timelapse record mode. The UI indicates by changing the top left frame rate display from fps to TL, and the lower right audio level display to TI M ELA P SE. Trig ger Mod e: Specifies if the camera is to use a fixed Interval of time or wait for a side record command or external GPI contact closure to initiate the next frame capture.
  • Page 32 Inter val: Specifies the number of seconds the camera will wait before the next image is cap- tured. Range is 1 to 1024 seconds. Default setting is 5 seconds. Burst Typ e: Specifies the type of burst recording, either Repeat or Unique. Default is Unique.
  • Page 33 7. AU DI O / VI DE O M EN U Co ntr ols This section describes monitor path parameters such as viewfinder, and RGB color and gains. These parameters are accessed from the VIDEO menu access key. Available sub menus include VIEW, VIDEO, VIEWFINDER, AUDIO and HEADPHONE VI E W The VIEW sub menu allows the user to choose the mode of monitor path image processing.
  • Page 34 LO OK me nu The LOOK menu permits Video, Gain and Tone values to be exported or imported to an SD Card. Look (.RLK) files may be read by another camera, but not by REDALERT! or REDCINE. Cle ar: Resets the settings for Color, Gain and Tone menu parameters to their default values. Import : The current settings for Color and Gain parameters will be overwritten by the values stored on the SD Card.
  • Page 35 Gai n s ub- me nu The Gain sub-menu selects various image processing parameters that may be applied to the monitor path. They do not affect the actual REDCODE RAW data being recorded. Master: adjusts the gain of RED, BLUE and GREEN equally. Range is 0.0 (no Red) to +4.0 Red Gain: adjusts the gain of the RED channel only.
  • Page 36 Co lor: When checked, forces the RED-EVF and RED-LCD outputs to monochrome or a false color exposure assist or Edge Highlight In Mo no c hro me, the color component of the image is removed. In Fal se Co lor the color component of the image is replaced by an overlay of colored bands representing the exposure levels with the image.
  • Page 37 Note the transition of false color in the clouds, indicating clip point was almost reached, the light grey chair is exposed at approximately 18% gray, and the foliage falls in the shadows. Edge Hig hlig ht With Edge Hig hl ig ht selected, items that are in focus are outlined in red over monochrome. A nal ys is Me nu Met er: allows the operator to choose an “always on”...
  • Page 38 histograms. When either of the R, G, and B channels have 1% of their pixels at maximum (clip) value, the corresponding channel clip light will illuminate. As sis ts: allows the operator to choose a signal analysis waveform. Selections include Wave- form Exposure, RGB Parade Histogram, Focus Assist and Focus Overlay.
  • Page 39 Areas of the image exposed within these ranges will be indicated by crosshatched overlays. Zebra 1 crosshatch pattern is oriented NW/SE and Zebra 2 is oriented NE/SW. Where the Zebras overlap, Zebra 1 has display priority. Dar k De tail : allows the RED-EVF to view addition information (detail) in dark areas of a scene, or in dimly illuminated nighttime scenes.
  • Page 40 Head pho ne The sub menu provides controls for headphone output volume channel mixing. Master Volume: Adjusts the overall headphone volume. Range is -18dB to 0dB in 1dB steps. Default is -6dB. Volume Left, Volume Right: Adjusts volume for the left and right sides independently. Range is -12dB to + 6dB in 1dB steps.
  • Page 41 8. Sy ste m Me nu Co ntrol s This section describes the various controls available to configure the camera. These parame- ters are accessed from the SYSTEM menu key, located below and left of the RECORD button. So und Me nu This menu provides audio channel configuration and management.
  • Page 42 Med ia Me nu This menu provides various media management functions including digital media formatting. U nmo unt: select to un-mount digital media from the RED ONE camera in a failsafe manner. The camera operating system will ensure that all files are closed, hard disk heads (if present) are parked, log files written and CF card or RED-DRIVE magazine is properly powered down.
  • Page 43 Proje ct Me nu The project menu sets the operating parameters the camera will use for a given project. Selections are SLATE, CONFIGURE, TIMECODE and QT PROXIES Slat e lets the operator identify the specific camera used for the project. Combined with reel numbers and clip numbers assigned by the camera, all clips recorded on the digital media may be uniquely identified, simplifying post-production and media archiving workflows.
  • Page 44 Ti me Base: allows the user to set the project time base - the playback & editing frame rate. Reso lutio n. Choose 4K, 3K or 2K resolutions. Do not use 4K or 3K for S16mm/B4 lenses. Note: The 1.2:1 varia nts are spe ci al mod es of 1 6:9 for a na mor p hic le nse s. The maximum available time base supported by each media type for each resolution is - REDCODE 28 RED 8GB CF...
  • Page 45 Note: An individual project should only use one Time Base, as it defines the frame rate used for timecode, playback and editing. To vary the capture frame rate above or below the base frame rate defined by the project’s time base, enable VARISPEED in the SHUTTER menu. On playback, varispeed recordings will be displayed at the frame rate defined by the time base.
  • Page 46 When checked, the camera will create QuickTime reference movies at the completion of each clip record. These movies are placed in the same clip folder. While the reference movies are being created the camera reports “POST” in the status display. You will not be able to record until the QuickTime proxies have been created.
  • Page 47 Prote ct: displays film projection safe areas with 1.85 or 2.40 aspect ratios and television safe areas with16: 9, 14:9 or 4:3 aspect ratios. Safe area color can be set to White, Black, Blue, Yellow or Red for maximum color contrast with the scene you are shooting. Cursor s: enables combination displays of Safe Action, Safe Title and Image Center cursors.
  • Page 48 Available test signals include: Color Bars, Black Field, White Field, Luminance Ramp, Chrominance Ramp, Chip Chart, Focus Pattern. The RED-ONE test signals are not recordable, they are provided to help align external monitors connected via the HD-SDI or HDMI ports.
  • Page 49 The default is 59.94 (720p 59.94) In Europe you may wish to select 50.00 (720p/50.00) H DM I The camera includes a standard HDMI Type A connector on its right side panel. This output provides a HDTV compatible 1280 x 720p or DVI / SXGA compatible 1280 x 848p signal. Note: If the PLAYBACK resolution is set to 1080p in PREFERENCES menu, the HDMI output is 1280 x 720 pixels when in preview and record mode and 1920 x 1080 pixels in playback.
  • Page 50 Prefere nce s: permits the user to define system preferences. Selections are KEY MAP, GPIO, SHUTTER, PLAYBACK and GREY SCALE KEY M AP selects the Key Map Preferences sub-menu. This menu permits selected menus or functions to be mapped to specific User Keys on the camera body. Side Rec ord: When checked, the side RECORD key is enabled.
  • Page 51 Zebra 1 Toggles Zebra 1 On / Off Zebra 2 Toggles Zebra 2 On / Off + Vo lume 1 Increases volume of Channel 1 (when in microphone mode) - Vol ume 1 Decreases volume of Channel 1 (when in microphone mode) + Vo lume 2 Increases volume of Channel 1 (when in microphone mode) - Vol ume 2...
  • Page 52 This menu permits the signal polarity of GPI A and B and GPO A and B to be defined as ei- ther – Active LO or Active HI. Selection is independent for each GPI input and GPO output. For GPI signals Active LO is the default, which means the GPI command will be activated on a high to low edge of an external control pulse.

  • Page 53: Maintenance

    Maintenance This sub-menu defines how the cooling fan behaves, and enables software updates. Fan S ub Me nu: specifies how the cooling fan operates. The camera's fan speed can be changed depending on the ambient air temperature and re- cording application. The default setting is AUTO A uto: This setting combines VARIABLE speed fan operation while not recording, with SILENT mode when in record.
  • Page 54 Bla c k S hadi ng: allows the camera to self-calibrate sensor output for optimum black levels. Note: bef ore s tarti ng a Bla c k S ha di ng cal ibrati o n, e ns ure t hat yo u pl ac e a le ns cap t hat b lo ck s al l lig ht o n yo ur le ns.
  • Page 55 Finally the camera will report – Bla c k S hadi ng: I nst alli ng Installation of the new data takes about 3 minutes. The camera will then report – Bla c k S hadi ng & Cali brati o n wa s s ucce ss f ul. Plea se reb oot t he ca mera for t he new se tt ing s t o ta ke e ffe ct Press the joystick and power cycle the camera.
  • Page 56 Set Cl oc k: allows the camera’s real time clock to be adjusted. Set Date and Time to equal GMT, and then set TIMEZONE in the TIMECODE menu to –8 for West Coast US (Pacific) time. Or set to local time, and then set the TIMEZONE value to 0. Year –...
  • Page 57 PR E-R E CO R D Pre-rec ord: enables a continuous loop record of definable duration (10 seconds or 30 sec- onds) that permits image capture “before the event” When enabled, pre-record immediately starts recording 1-second chunks of video and audio to the digital magazine.
  • Page 58 E nter SY S TE M me nu t he n t he S E TUP s ub menu. Che ck t he Pre-Record checkbox and select duration of 10 seconds or 30 seconds. To commence pre-record, press both the SHIFT key and the RECORD key. The camera will commence prerecord, indicated by the record tally light and timecode changing to yellow.
  • Page 59 App e ndix A: Upgr adi ng Ca mera Fir mwar e RED-ONE camera functionality may be upgraded by installing the latest firmware. Log onto www.red.com/support for a complete listing of firmware revisions available for the camera, complementary QuickTime codec, postproduction software, and Operation Guide.
  • Page 60 A software update is available for your system Wo uld yo u li ke to upgr ade? Upgr ade La ter Press the joystick to confirm the upgrade, and all monitor outputs will report back – Performing System Upgrade Thi s ma y ta ke s e veral mi nutes Do not p ower-d ow n d uri ng t his pro ces s A blue highlight bar will animate on all monitor outputs to indicate an upgrade is in progress.
  • Page 61 App e ndix B: Ma nagi ng Digi tal Med ia The RED-ONE camera supports two types of media - compact flash and hard disk. Compact Flash (CF) media requires a RED-FLASH (CF) module mounted to the left side of the camera body.
  • Page 62 Insert the CF card with the manufacturer’s label facing outward (away from camera body). Press the CF firmly into the CF slot, but without excessive pressure. Or attach the RED-DRIVE magazine to the e-SATA port via the 16 pin e-SATA cable provided. The camera will recognize unformatted media and prompt with a message such as this U nfor matt ed and/or...
  • Page 63 Refor matt i ng pre vi o usl y use d medi a Re-formatting a previously used CF card or RED-DRIVE magazine follows a similar procedure, except that the camera will provides the following warning. The Digital Magazine is not empty! The ma ga zi ne c urre ntl y co nt ai ns (n umbe r ) cl ips.
  • Page 64 Re mo vi ng Me dia. It is recommended that media is un-mounted prior to removal from the camera. This ensures power is removed from the digital media and any open data files are closed. Removing a CF card or disconnecting a RED-DRIVE without first un-mounting it will not physi- cally damage the media, however it does increase the risk of file corruption.

  • Page 65: Appendix C: Input And Output Connectors

    Appendix C: Input and Output Connectors . D. C Power I np ut The power input connector accepts a DC voltage between +11.5 and +17V DC. When used with a RED-BRICK 140 battery, the camera also receives battery status information. The power input is protected against reverse-polarity connection, ESD, under voltage, and over current.
  • Page 66 Signal Description GROUND Auxiliary power return (Camera Ground) Input (Trigger) Tally +VOUT Auxiliary power output, Functions of the GPI and GPO pins can be configured by the operator, however the default setting for the upper connector is Pin 2 = Record Start/Stop and Pin 3 = Record Tally. For the lower connector, the default setting is Pin 2 = Record Next Frame and Pin 3 = Record Com- pleted.
  • Page 67 A uxil iar y / RS232 Por t This connector provides 500mA regulated +12V power to motorized 2/3” B4 mount lenses. The two inputs labeled SW1 and SW2 are GPI signals that activate Record Start / Stop and last recorded Clip Playback respectively. They may be triggered by a standard B4 lens, or by a lens motor controller such as Preston MDR-2 when using appropriate adaptor cables.
  • Page 68 Line/ Mi cro pho ne A udio I np ut s A three-pin mini-XLR connector is provided for each of 4 independent line / microphone inputs. For line inputs used with a RED supplied XLR to mini-XLR adaptor cable, full scale (FS) level will be +18 dBU (6.5 Volts RMS).
  • Page 69 Line A ud io O utp ut A 5-pin mini-XLR connector supports two channels of balanced analog audio output. The cam- era’s four audio channels may be monitored in user selectable pairs (either channels 1 & 2 or 3 & 4 or a quad mix of both pairs) based on the ‘Headphone MIX’ parameter. Maximum output level for the balanced analog audio outputs is +8dBU (2 Volts RMS).
  • Page 70 When operating at 23.98, 24.00, 25.00 or 29.97 Project Time Bases, set the genlock signal generator to SMPTE 274 progressive scan format, at the same frame rate as the project TIME BASE. Do not use PsF or interlaced signals. Using an Ambient ACL202CT, set dip switches as follows: D= down, U = up, R = right, L = left Note: After changing any of the above dip switch settings, power cycle the ACL202CT unit.
  • Page 71 When PLAYBACK mode is set to 1080p, the program provides a single 1920 x 1080 progres- sive scan dual link 10 bit 4:4:4 RGB video signal at 23.98, 24.00, 25.00 or 29.97 Hz. Note: RED-ONE outputs 1080p (true progressive) over PVW and Program HD-SDI and HDMI, it does not support the 1080PsF format.
  • Page 72 (white balance) of the footage, adjust exposure and alter highlight and shadow tonality in post-production. The RED-ONE camera records RAW sensor data using wavelet based REDCODE RAW com- pression to a CF card, or RED-DRIVE digital magazine. The compressed RAW data is then...

  • Page 73: Software Tools

    Software Tools RED Digital Cinema provides a variety of software tools to aid postproduction. For proper color rendition using a Macintosh OSX computer, your monitor should be set to Adobe 1998, or to SMPTE-C display profile. If you use the HD Cinema display profile, adjust the gamma to 2.2. RED Quic kTi me Codec (Use V3.1.0 or higher for Build 16 footage) The RED QuickTime codec permits REDCODE RAW footage to be displayed on Macintosh OSX...
  • Page 74 4K and 2K resolution via 10 bit DPX or 16 bit TIFF files, or create color corrected Quick- Time reference movies for editing or other uses by applications that use the RED QuickTime Codec. As RED-ONE shoots progressive scan images, all QuickTime movies created by RED Alert! will also be progressive scan.
  • Page 75 RED Alert! reads the metadata recorded for each color correction parameter by the RED-ONE camera. Values can be adjusted by dragging the appropriate slider, or by entering a new nu- meric value in its box. Clicking R will reset the value back to its default setting. Clicking M will restore the recorded metadata value.
  • Page 76 4K or 2K resolution 10 bit DPX or 16 bit TIFF files. REDCINE can also ren- der clips as standalone QuickTime movies using specific HD video codecs. As RED-ONE shoots progressive scan images, all QuickTime movies created by REDCINE are also progressive scan.